By Luca Cerchiari, Laurent Cugny, Franz Kerschbaumer
It is usually acknowledged that jazz is America’s excellent gift to the area, yet whereas actual, this belies the fantastic, frequently the most important function that Europe has performed within the improvement and recognition of jazz in the course of the global. in line with a sequence of symposia attracting prime students, critics, and musicians from all through Europe and the U.S., Eurojazzland first addresses the effect of eu musical traditions and tools at the formation and improvement of yank jazz. half information the important reviews of yankee musicians on ecu soil, from black minstrels to such jazz greats as Benny Carter and Duke Ellington, and bargains with ecu jazzmen and their advancements of yankee jazz kinds. the ultimate half chronicles the significance of eu critics and musicologists in jazz feedback and gives essays on ecu contributions to jazz musicianship and production.
Eurojazzland proves that jazz is just too wealthy and sundry for one state to assert, outline, or include. This groundbreaking assortment will entice jazz aficionados, students, musicologists, and musicians.
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Additional info for Eurojazzland: Jazz and European Sources, Dynamics, and Contexts
1976), pp. 29–30. 7. Pops See Foster, The Autobiography of Pops Foster, New Orleans Jazzman, as Told to Tom Stoddard (Berkeley: University of California Press, 1971), p. 7. 8. Karl Koenig, The String Band: The Ancestor of the Jazz Band (Running Springs, CA: Basin Street Press), p. 1. 9. , pp. 9–89. 10. Danny Barker, Buddy Bolden and the Last Days of Storyville, ed. Alyn Shipton (London: Cassell, Wellington House, 1998), p. 11. 11. Koenig, String Band, p. 111. 12. , pp. 4–93, 104–105. 13. , p.
1. 9. , pp. 9–89. 10. Danny Barker, Buddy Bolden and the Last Days of Storyville, ed. Alyn Shipton (London: Cassell, Wellington House, 1998), p. 11. 11. Koenig, String Band, p. 111. 12. , pp. 4–93, 104–105. 13. , p. 2. 14. Horst H. Lange, Als der Jazz begann 1916–1934: Die Anfänge des instrumentalen Jazz—Von der Original Dixieland Jazz Band bis Louis Armstrong (Hildesheim, Zurich: Olms Presse, 2000). 15. See Koenig, String Band, pp. 94–95. 16. Koenig, String Band, p. 3. 17. See Donald M. Marquis, In Search of Buddy Bolden: First Man of Jazz (Baton Rouge: Louisiana State University Press, 1978), p.
15. See Koenig, String Band, pp. 94–95. 16. Koenig, String Band, p. 3. 17. See Donald M. Marquis, In Search of Buddy Bolden: First Man of Jazz (Baton Rouge: Louisiana State University Press, 1978), p. 22. 19 franz kerschbaumer 18. , pp. 42–43. 19. See Barker, Buddy Bolden, p. 8 20. Marquis, In Search of Buddy Bolden, pp. 47–48. 21. Foster, Autobiography of Pops Foster, p. 177. 22. , pp. 43–58. 23. , p. 18. 24. , p. 75. 25. , pp. 49–54. 26. Barker, Buddy Bolden, p. 12. a d d i t i o n a l l i t e rat u r e Burman-Hall, Linda Carol.